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It’s hard to imagine TV without an intergalactic dinosaur robot teen drama. Yet, that’s how children’s television was in the U.S. until Aug. 28, 1993, when the first episode of “Mighty Morphin Power Rangers” hit the airwaves and forever changed pop culture.
A year prior, Fox had established itself at the top of cutting-edge children’s programming with its Fox Kids block, which included shows like “X-Men” and “Batman: The Animated Series.” “Power Rangers” debuted with a pilot episode, “Day of the Dumpster,” and it was the start of a phenomenon. It would become one of the most iconic shows, and it continues to capture children’s imaginations three decades later — it’s 29th season, “Power Rangers Dino Fury,” premiered on Netflix in 2022.
Haim Saban, an Israeli American mogul and entrepreneur, was the mastermind behind “Power Rangers.” By the mid-’80s, Saban already had successful ventures in international touring and music industries, and he became a major name in television music after he moved to Los Angeles. At the end of the decade, he founded Saban Entertainment, where he helped create cartoons that infiltrated Saturday morning lineups.
Some were single-season, kid-friendly versions of existing intellectual property like “The Karate Kid” or “Little Shop of Horrors,” or they had a famous name or group attached like “Kid ‘n Play,” an animated series based on the hip-hop duo of the same name, and “Camp Candy,” which featured actor John Candy. Around this time, Saban discovered a Japanese franchise called “Super Sentai” that featured fantastical giant monster fights that he thought would be perfect for U.S. audiences.
Saban spent several years pitching the idea, but no network was interested — until Saban Entertainment had its first hit with 1992’s “X-Men.”
“X-Men” quickly became one of Fox’s top-rated kids shows. It reintroduced Marvel’s mutants to a new generation, something that Margaret Loesch, the president of Fox Kids, had attempted a few years before when she was president and chief executive of Marvel Productions. Loesch had also pitched American adaptations of the “Super Sentai” franchise with no success.
After the successful launch of Fox Kids, when Loesch was looking for counter-programming for the 7:30 a.m. weekday slot, Haim brought her some of the same footage. Loesch took the idea to then-Fox President Jamie Kellner, who expressed his doubts, but he told her to shoot a pilot and if it tested well, they could move forward.
According to a 2019 interview with the Television Academy Foundation, Loesch said the pilot tested well with young boys and girls, and when she saw that the girls at the screening each had their own favorite woman on screen who could “kick butt,” she knew she had a hit.
Although the pilot was cast under the name “Phantoms” and filmed under the title “Dino Rangers,” crew members at some point during shooting were informed that they needed a different name.
The desire was to come up with four-word title: “Something Something Power Rangers,” with those two words eventually being “Mighty Morphin.” The pronunciation became a bit of a challenge for composer Ron Wasserman, one of Saban’s in-house musicians who created the music for the pilot, who said he had to make a conscious effort not to say “morphine.”
In an interview with the Village Voice in 2013, Wasserman said the only input he was given was a suggestion to use the word “go” in the theme song because it had been successful in the “Inspector Gadget” theme song. Wasserman then decided to do a rock theme, creating the show’s iconic guitar riff and the memorable chorus “Go Go Power Rangers!” The theme song was cranked out in 2½ hours, and Wasserman said Haim told him that Fox went crazy over it and that the recording with his vocals would be on the show.
Once the show was picked up, enough changes had to be made to warrant the entire pilot being reshot, the first of many changes the show would make during its production. One of the changes was replacing an actor from the pilot with Jason Narvy, who would play Skull, one the show’s teenage antagonists. Although he had auditioned for a part as one of the lead Rangers, he was called back for the bully role.
In a recent interview, Narvy said that when Haim saw the characters, he said: “These guys are morons … I want them in every show.” Narvy was hired on a Thursday, and the show began shooting the following Monday, only three months after the original pilot episode — which never aired on TV — was shot.
That fast-paced shooting schedule, coupled with cast members not having seen much, if any, of the Japanese footage, led to confusion on set about what they were making.
The actors also didn’t realize how quickly the show’s popularity was rising. Walter Emanuel Jones, who played the original Black Ranger Zack Taylor, said he was recognized as the character a week before the show premiered when a child, who had purchased his action figure, recognized him. It was news to Jones, who responded by saying: “I have a doll?” He said the child answered matter-of-factly: “Yeah, and your face is on the box.”
Those toys proved to be an indicator of how big the show was going to become. Scott Holm of Minnesota, a lifelong Minnesota resident, won the Fox Kids’ Power Rangers sweepstakes in 1993 when he was 7, and he was awarded every Power Rangers toy on the market. He said he was so excited that he didn’t want to go to bed the night he took home his prizes.
“Power Rangers was the thing that everyone was talking about at school,” Holm said. “From the first toy commercial all the way to the premiere of the show, everyone was hooked. We pretended and played Power Rangers on the playground, fighting about who got to be which Power Ranger … you have exactly what a 7-year-old kid in the ’90s was looking for.”
Within two months, the show was reaching 4.3 million children, according to a Fox spokesperson in 1993. By the end of Season 1, the average was 4.8 million, followed by Season 2, which averaged 6.9 million. When the Los Angeles Fox affiliate made the choice to air the show at 3 p.m., it would frequently have higher viewership than “The Oprah Winfrey Show.”
The show was polarizing among critics, particularly because of the martial arts and robot-monster fights, though each episode had a moral message at the end. Carole Lieberman, a media psychiatrist and clinical professor of psychiatry at UCLA, told the Baltimore Sun in 1993: “It’s a harmful show for kids because of its highly violent content. But worse than that, it’s schizophrenigenic [crazy-making] because of the hypocrisy it demonstrates presenting a half-hour of violence and then trying to undo it in 30 seconds.”
Still, while others celebrated the show for being an absurd bit of offbeat camp, it was a hit with children, including a demographic that was 40% female at a time when most of Fox Kids’ programming was averaging only 20% female.
The series featured women as strong lead characters, including Amy Jo Johnson as Kimberly Hart, the Pink Ranger, and Thuy Trang as Trini Kwan, the Yellow Ranger, and it was one of the many ways the show was different. Many elements of that can be found in the performances of the cast. Jones’ character frequently incorporated hip-hop dancing into his martial arts moves — something that other children’s series might have been hesitant to include because of how the genre was perceived at the time — gangsta rap was at its peak with rappers like the then-named Snoop Doggy Dogg on the charts and in the headlines. But Jones said adding hip-hop touches to his character was welcomed.
“Once the show came out, we got sponsors that were sending them [wardrobe], so there was this plethora of things I got to choose from. I’d be like, ‘Ooooh, I like this Malcolm X vest,’ and wear that,” Jones said. “As long as I had black on, I had a variety of vibes to choose from. It was all very Afrocentric, it was all very hip-hop, and I was excited about that as that gave my whole wardrobe a flavor that I hadn’t seen on television before.”
While the actors were able to express their individuality, the cast wasn’t unionized — Saban Entertainment used nonunion labor to keep costs down, according to the Washington Post — and they were required to be together a lot. Fox had ordered 60 episodes that first season (initially 40, followed by an additional 20 after it became a hit), which led to a unique and rigorous method of television production. The shooting was scheduled in four-episode clusters where the live action was filmed to bridge it together with the licensed Japanese footage. Five days a week were on-set, and the sixth was in a recording studio for additional audio voice-overs.
Although cast members did get Christmas 1993 off (having filmed right up to Christmas Eve), the schedule and expectations were such that the actors were still called to set to film on the day of the 1994 Northridge earthquake.
Jones recalls the disbelief he felt about being called into work after the catastrophic event that ground Los Angeles to a halt: “I think we all arrived at the parking lot of the set and sat around waiting for someone to OK the building, and at the end of the day, the building was not OKd, so we turned around and went home.”
The next month, cast members would also cause a citywide disruption when high demand caused them to move a special appearance at a single, small theater to the Universal Amphitheater for six shows. It brought 35,000 people to the Universal Studios theme park and caused an eight-mile long traffic jam.
“Once the Universal Studios things happened, where they started [originally planning] a small 15-minute event as part of D.A.R.E., saying, ‘Hey kids, don’t do drugs,’ and that closed down the L.A. freeway system, we were all like, ‘How did this happen?’” Narvy said. He added that the moment felt even more surreal shortly after. “Meanwhile, once the season was over and we stopped pulling in the paychecks, we were back to doing dinner theater for $20 a performance.”
While Narvy had one of the longest tenures on the show, Season 2 saw the first shift as three of the original Rangers, including Jones, departed the show. Jones soon after entered the realm of Nickelodeon when he was cast in the sci-fi show “Space Cases,” a set he recalls being considerably different.
“It was union. The pay was substantially different, the hours we could work were substantially different, our breaks were scheduled — it was completely different,” he said. (It’s worth noting, according to an April 2023 piece in the Guardian, that following Hasbro’s 2018 acquisition of “Power Rangers,” the show became union affiliated.)
What’s also changed in those years since was how much convention culture had a positive effect on the actors, the fans and the legacy of the show. Jones was among the very first, along with Austin St. John (the Red Ranger, Jason Lee Scott) and the late Trang (the actress died in an accident in 2001), to interact with fans, appearing at car shows in the mid-’90s, where he realized the effect those interactions had. He spread the word to Jason David Frank (the Green Ranger, Tommy Oliver, who died in 2022) and introduced him to his manager, who began helping Frank secure convention bookings. Jones says the inaugural Power Morphicon, a biannual “Power Rangers” convention that started in 2007, was when he first started realizing the long-term effect the franchise had had on its audience, and it contributed to the positive feelings he has toward his time on the show today.
Frank would eventually be credited as one of the most visible and encouraging ambassadors of convention culture, fully embracing what those panels and appearances meant as an experience for fans.
“He understood that Comic-Cons were a form of entertainment,” Narvy said of his co-star. “He understood that it wasn’t about celebrating something that happened, but continuing to make something happen. Being at the Comic-Con was about being at the Comic-Con, making it an event. He embraced that he was there as an entertainer, not a celebrity. And he did not let his fans down.”
The influence of “Power Rangers” on millennials is one whose seeds continue to blossom three decades later. While a handful of shows before “Power Rangers” utilized vintage or stock footage and inserted characters into them, perhaps most notably on “Pee-Wee’s Playhouse,” it was always done with some sort of wink to the audience. The way “Power Rangers” incorporated film from two different sources to create a single cohesive narrative helped destigmatize sampling and normalized a practice that is now commonplace in mash-up culture.
It also changed how children perceived different communities.
“‘Power Rangers’ was showing how much cultures have in common, and more importantly a culture ‘over there’ is not a foreign culture; it’s just a culture you haven’t experienced,” Narvy said. “Things are not strange if you like them, and it’s introducing it to children as they’re learning their norms. What’s normal for being a woman? You can be a superhero; it’s normal, nothing wrong with that. Not only are they seeing a diverse group of people and Japanese vernacular and a time-tested formula, they’re doing it effortlessly. Therefore, you have a whole generation growing up thinking there’s nothing strange about it.”
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In July, The New Yorker published its thirtieth story by Tessa Hadley—a higher count that of any other fiction writer in the past two decades. On a recent episode of The New Yorker Radio Hour, the fiction editor Deborah Treisman spoke with Hadley about her genesis as a fiction writer. Hadley’s latest story collection is “After the Funeral.”
If you’re fortunate enough to be attending one of the three upcoming Beyoncé concerts at Inglewood’s SoFi Stadium (Sept. 1, 2 and 4), best not to disappoint Queen Bey and come unprepared. So don your favorite silver outfit (see “Virgo Season”) and get to know some of Bey’s musical heroes, on-stage performers, behind-the-scenes architects and key phrases that have made the Renaissance tour one of the most acclaimed and lucrative in history. SoCal, time to get your fork and your spoon …
Alexander McQueen The late fashion designer was such a visionary of futurist-Edwardian dark glamour that the Met Museum exhibited his couture work. His vision lives on in a sequined chrome corset/boots/gloves combo that his atelier designed for Beyoncé, along with garments for her backup dancers and live band.
Andre Jose Marshall II and Amari Marshall Andre was the brother of Amari, who is a lead dancer on Beyoncé’s tour. After Andre died in June at the age of 32, Beyoncé dedicated “My Power” to him at a stop in Hamburg, Germany.
Andrew Makadsi Makadsi operates as creative director for Parkwood Entertainment, and earned an Emmy nomination in 2019 for outstanding production design for his work on Beyoncé’s concert documentary “Homecoming.” He is credited with “additional creative direction” on the Renaissance tour.
“Badu, Badu, Badu, Badu” The snub that launched a thousand Lizzo think pieces. During the live remix of “Break My Soul,” Beyoncé shouts out artists that have influenced or inspired her over her career. She normally includes Lizzo, but after former dancers for the “About Damn Time” singer filed a suit alleging sexual harassment, Beyoncé did a version where she put soul siren Erykah Badu’s name on loop. (Lizzo returned to the list on later shows).
Blue Ivy Carter Beyoncé and Jay-Z’s 11-year-old daughter — and a fan-favorite dancer on the Renaissance tour.
Carlos Basquiat A ballroom dancer from the House of Basquiat on HBO’s competition show “Legendary,” and one of the “dolls” dancing with Beyoncé on tour.
Jean-Michel Basquiat The late New York artist, beloved by Bey and Jay-Z, made a controversial cameo with the two in a Tiffany ad that re-did an unseen painting of his in the firm’s trademark blue. Beyoncé cheekily referenced him again on “I’m That Girl,” where she sings she’s “beating down the block knocking Basquiats off the wall.”
David Koma The Georgian former creative director of Mugler designed the electric-chartreuse tableau for Bey’s 2022 Oscars performance (sadly upstaged by the Slap). On the “Renaissance” tour, he’s behind a shimmery, prismatic coat and dress.
Destiny’s Child The bestselling girl group whose most famous lineup featured Beyoncé, Kelly Rowland and Michelle Williams. Beyoncé opens her set with their 2001 song “Dangerously in Love,” which was repurposed for Bey’s own album of the same title in 2003.
Donna Summer The resplendent ‘70s disco queen provided the floor-filling sample material for “Summer Renaissance,” but Summer’s vision for Black and queer club music informed the whole ‘Renaissance” project, right down to the Studio 54-era crystal horse Bey rides.
“Drunk in Love” Beyoncé’s euphoric collaboration with Jay-Z, released in 2013. The song has been absent for the majority of the tour, save for opening night in Stockholm and a mid-August date in Atlanta. Will it find a place in the SoFi set list?
“Everybody on mute” When Beyoncé sings the line during her performance of “Energy,” she expects the audience to follow her direction and refrain from making a sound. Don’t get yelled at for breaking the silence!
“Get your fork and your spoon” For everyone wondering where the “Renaissance” music videos are hiding, during the show Bey projects a brief text message stating, with delightfully profane brevity, that you will eat when she tells you to.
Grace Jones One of Beyoncé’s formative ‘70s and ‘80s influences, Jones is an icon of music, fashion, film and vibes across decades (and just performed at WeHo pride this year). Jones famously turned down just about every contemporary collaboration offered to her, but finally caved to join Bey on “Move.” -AB
Honey Balenciaga A ballroom dancer on the tour who stole the show at opening night in Stockholm.
Honey Dijon A modern master of house and club music and a groundbreaking Black trans artist, Bey tapped her for production and writing on “Cozy” and “Alien Superstar.”
Jay-Z Beyonce’s billionaire husband, and one of the greatest rappers the world has seen. He’s been in attendance for most of the tour — and was spotted next to Megan thee Stallion in Paris — and will probably pop up for the L.A. run, given he and his wife just spent $200 million on a Malibu mansion.
Jill Scott “Jilly from Philly,” as Beyoncé lovingly referred to her on the remix to “Break My Soul.” When Scott stopped by the tour’s Philadelphia show, the R&B singer’s admiration for Beyoncé was indescribable: “I didn’t get a chance to see Michael Jackson, I didn’t get a chance to see James Brown, I didn’t get a chance to see Tina Turner, but I got a chance to see Beyoncè tonight,” she said of the experience.
Kendrick Lamar Compton-born superstar rapper who remixed Beyoncé’s “America Has a Problem” (and previously featured on “Nile” and “Freedom.”) Although he hasn’t popped out on the tour, Beyoncé danced over a recording to his verse since it dropped in May.
Kevin JZ Prodigy The Philly-born ballroom commentator whose voice is sampled at the start of Beyoncé’s “Pure/Honey.” He’s also narrated much of the Renaissance tour.
KNTY4NEWS One of the funniest bits in the “Renaissance” live show finds Bey broadcasting from behind a TV news desk with, shall we say, NSFW call letters.
Les Twins Laurent and Larry Nicolas Bourgeois are two outrageously limber, identical twin French dancers and choreographers who flank Bey during much of her live show.
Madonna Beyoncé sampled Madonna’s “Vogue” for “Break My Soul (The Queens Remix).” Beyoncé gave the pop legend a shout-out at her New Jersey stop, and posed with her and her daughters after the show.
Maze Featuring Frankie Beverly In 2019, Beyoncé covered R&B stalwart Maze’s sparkling “Before I Let Go,” and sang it live for the first time in Stockholm on opening night.
Megan Thee Stallion Houston-born rapper who collaborated (and won a Grammy) with Beyoncé on “Savage” in 2020.
Michael Jackson Beyoncé has mixed “Break My Soul” with the Jacksons’ “Shake Your Body,” and blended “Love on Top” with the Jackson 5’s “I Want You Back.”
Mugler by Casey Cadwallader Cadwallader, the creative director for Mugler, designed the perilous-looking metal bustier Bey wore for much of “Renaissance’s” promo imagery.
Nina Simone An American jazz and civil rights titan whose uncompromising virtuosity, political fury and tender melancholy informs Beyoncé’s whole career, and who gets a well-deserved “Break My Soul” name-drop.
Reneigh The Beyhive decided that the crystal horse from “Renaissance’s” cover needed a name, and lo and behold, she is now Reneigh.
Rose Royce L.A.-based disco and funk band who shined in the 1970s. Mary J. Blige had a signature hit in 1994 with a cover of the group’s “I’m Going Down,” and Beyoncé has been performing it on the Renaissance tour.
Shiona Turini Turini has helped put together Bey’s globe-trotting wardrobe alongside co-stylists Julia Starr-Jamois, Karen Langley and KJ Moody.
“Thique” “Renaissance” track added to the show’s set list in Atlanta for the first time since opening night.
Tina Turner Beyoncé pays nightly tribute to the late “Queen of Rock & Roll” by covering one of her signature songs, “River Deep, Mountain High.”
Uncle Johnny Technically Tina Knowles’ nephew, this beloved family figure introduced a teen Beyoncé to house music. She’s called him “the most fabulous gay man I have ever met, who helped raise me and my sister.”
Virgo Season Sorry Leos, your time is up, and it is now the era of perfectionist Virgos like Bey to shine. She wrote a whole song about it — “Virgo’s Groove” — and is asking fans to come bedecked in silver for the whole season of shows.
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Of all the weather phenomena, fog may be the richest in literary associations. To be in a fog is to have senses dimmed, to feel as if you’re inhabiting a space between worlds. For early 20th century Spanish Modernist Miguel de Unamuno — who wrote an entire experimental narrative titled “Fog” (sometimes translated as “Mist”) — it referred to the minutiae that obscure existence; in Ken Kesey‘s 1962 novel, “One Flew Over the Cuckoo’s Nest,” it is the haze of hallucination.
For Myriam Gurba, fog is a condition that disorients and ensnares.
Born and raised in Santa Maria, the author grew up with the cotton-colored marine layer that regularly envelops the California coast. In the title essay of her forthcoming nonfiction collection, “Creep: Accusations and Confessions,” out next week, Gurba explains that she has long been captivated by fog. “The white floated like miles of strange breath exiled from its source,” she writes. “It embodied gothic verbs. It oozed. Crept. Snaked. Snuck. Its moisture tickled and licked, droplets settling on eyebrows, eyelashes, bangs and sage. The inscrutability of the white’s shape and size teased. Intangible, the soup was potentially infinite.”
This physical fog is accompanied by a psychological version: a relationship with an attentive suitor she calls “Q” who soon becomes abusive, holding her captive through violence and its constant threat.
“Creep,” like much of Gurba’s work, is less linear narrative than a constellation of topics that orbit one another: control, violence, isolation and defiance, with detours into Shakespeare, the Clarence Thomas confirmation hearings and the nature of terroir. Binding these themes together are the suspenseful conventions of horror writing. (I found myself holding my breath in parts.)
And, of course, there is fog: soft yet sinister, intangible yet deadly. Fog, she tells me when we meet, is a “great metaphor” for domestic violence. “How can you be killed by love?”
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You may have heard of Gurba, but it’s unlikely that you know her; her reputation comes swathed in some fog of its own. Gurba, 46, has published five books and too many short stories and essays to count. But the L.A.-based writer is perhaps most familiar for her famous takedown of Jeanine Cummins’ border thriller, “American Dirt,” in the online journal Tropics of Meta in 2019.
That searing piece, arguing that the novel “aspires to be Día de los Muertos, but it, instead, embodies Halloween,” ignited furor and then reckoning over representation and systemic racism in the book industry. In response, Gurba and fellow writers David Bowles and Roberto Lovato launched the group #DignidadLiteraria to advocate for a greater Latinx presence in publishing — an effort that led to a not-inconsequential meeting with honchos at Macmillan, the conglomerate behind “American Dirt.”
The arrival of the COVID-19 pandemic in March of 2020 put those efforts into hibernation. (Though the uprisings that followed the murder of George Floyd three months later made the discussions of representation feel prescient.) Yet the controversy had the effect of typecasting Gurba as the impudent indie writer willing to torch the publishing industry to make a point about diversity. (Never mind that “American Dirt” went on to be a massive bestseller.)
That controversy spilled into another, when in February 2020 Gurba was put on administrative leave from her job as a high school teacher in Long Beach after she spoke out in support of students who had alleged abuse against a fellow teacher. She also raised public allegations against Q, the man she writes about in “Creep,” who worked for the district.
Seated at a sidewalk cafe on a bright L.A. morning, Gurba declines to discuss her departure from the Long Beach Unified School District. (She is no longer employed there.) Nor does she want to reveal any specifics about where she currently lives or works. But when it comes to her writing, she is far more open and revealing.
To this day, she remains surprised by the reaction to her piece about Cummins. “It was shocking to me that that essay was as widely read as it was,” she says. “Certain critics and pundits and public intellectuals ascribed an extraordinary amount of power to me, alleging that I had permanently upset the publishing industry in these horrific, anti-white ways” — the final clause delivered with evident irony.
But she is ready to move on. “One of the things that really bugs me about some folks and their response to my work is that they will hyper-focus on that essay,” she says, “and completely ignore all of the work I do around gender-based violence.”
And, frankly, Gurba’s other work is more compelling.
“Creep” marks the follow-up to her critically acclaimed 2017 memoir, “Mean,” the intertwining tale of a sexual assault she survived at the age of 19 combined with the story of another woman, raped by the same man, who did not live to tell the tale.
“Mean” was part ghost story, part queer Chicana coming-of-age memoir. (Prior to her relationship with Q, Gurba was married to a woman for 16 years.) The book was also about narrative itself, challenging the ways women are expected to write about themselves and about sensitive subjects like rape. Rich with black humor, “Mean” never betrayed a lick of sentimentality. “I want to be a likable female narrator,” she wrote in that book. “But I also enjoy being mean.”
Poet and essayist Raquel Gutiérrez, author of the collection “Brown Neon,” says she sees Gurba in the orbit of feminists such as Virginie Despentes and Inga Muscio (the latter also hails from Santa Maria) — writers who address female sexuality and abuse in blunt ways. “It’s very punk rock,” she says of Gurba. “No tiene pelos en la lengua.” This is Spanish for: She does not mince words.
In person, Gurba does little to dispel her reputation for fearlessness. She says she has been scolded for using humor to address rape, the implication being that it’s disrespectful. “To that I always answer: I think rape is more disrespectful.”
She also comes off as sharp and considered — preoccupied, for example, by the oral traditions of her family, some of whom hailed from rural Indigenous communities around Guadalajara. “There is so much involved in the breath and the tone and the inflection that I think can be translated to the page, but it takes a lot of effort,” she explains. “For me storytelling is inextricable with orality. … I read all of my work aloud until I get a rhythm, I think about that almost as a musical composition.”
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The new collection is consistent with Gurba’s other writing in style and voice, but it is a very different work.
Where “Mean” was taut, “Creep” is longer and shaggier: a collection of 11 essays — some previously published — that explore a range of themes, many revolving around misogyny and violence. Included in the mix is the essay about “American Dirt.”
But the most absorbing pieces are those in which Gurba turns her unblinking gaze to life’s cruelties, weaving together disparate threads that somehow hold in the end.
In “Tell,” observations about the feral games children play — like tossing Barbies out of windows to their “death” — evolve into a rumination on how these games function as rehearsals for facing mortality as an adult. Gurba cites occasions when such games have turned literal. In a chilling incident from 1951, Carlos Salinas de Gortari, the future Mexican president, then only 3, had a hand in killing a housekeeper while playing war games with his brother. (The boys were fooling around with a loaded rifle their father had left in a closet.) Games about war, like war itself, can lead to death — no rehearsal needed.
Gurba has been scolded for using humor to address rape, the implication being that it’s disrespectful. “To that I always answer: I think rape is more disrespectful.”
Essays in “Creep” bounce between the power dynamics of practical jokes and sexual assault; between Franz Kafka‘s “The Metamorphosis” and the way Mexicans have historically been treated at the U.S. border. Many of the pieces, like “Mean” before it, also hopscotch through time — something Gurba attributes in part to close readings of Mexican writer Juan Rulfo‘s “Pedro Páramo,” the 1955 novel that helped kick off the Latin American literary boom of the 20th century.
In that masterful story, a man journeys to a village of the dead. “‘Pedro Páramo’ really scoffs at time,” says Gurba. “[It] is such a a challenging book because of the relationship to time, because life and death are happening simultaneously. I wanted to mirror that seeming lack of structure in my work as an homage to him.”
Rulfo materializes at the heart of one of the more pleasurable stories in “Creep,” an essay that revolves around Gurba’s larger-than-life (and quite sexist) maternal grandfather, Ricardo Serrano Ríos, a Guadalajara publicist who had been a friend of Rulfo’s in school. Serrano spent his life alleging that he’d given Rulfo a manuscript of his poetry that was never returned — and that Rulfo had pillaged it for ideas.
“The other way Juan had supposedly ripped off Abuelito was by selling him an incomplete set of encyclopedias for two hundred pesos,” writes Gurba. “He still carried a grudge about those missing volumes.”
Gurba says that as a child she didn’t realize that the Rulfo of her grandfather’s rants was one of the most famous figures in Latin American letters. “I just knew him as the friend my grandfather would not shut up about,” she says with a laugh. “I wanted to hear ghost stories, not Rulfo stories. And the irony is that I had this one degree of separation from the greatest ghost story writer in all of literature!”
From her bag, she produces a dogeared copy of “Pedro Páramo” published by Mexico’s Fondo de Cultura Económica (think the Mexican version of Penguin Classics). The mustard-colored cover features an expressionistic painting of a canine. On the inside cover, Serrano Ríos has dedicated the book to his daughter — Gurba’s mom, Beatriz: “Beautiful daughter: this is one of the most important novels in the Spanish language.”
The most disconcerting and enthralling essay in “Creep” is the final one, which delves into her three-year-long relationship with the abusive Q. To describe it in too much detail is to dilute its power, but the abbreviated version of the story is that as Gurba was writing and publishing “Mean,” and being hailed for its narrative innovations, she was also enduring terrifying brutality at home.
On the verge of another potential turning point for her reputation, the author says she now finds herself in a much better place. “There are conditions under which I’m living that are very good,” she says, “that I did not think were achievable.”
“It is difficult to know when one has exited the fog,” Gurba writes in the final pages of the book. “There are no sign-posts and one exits gradually. The noncolor is dense, then thin, and then, if one is very fortunate, not at all.”